DON GIOVANNI, MOZART - il Mio Tesoro by the Peruvian Tenor Luis AlvaFrom Don Giovanni the Peruvian Tenor LUIS ALVA (Luigi Alva - Lima Peru April 4, 1927), as Don Ottavio, executing and singing "Il Mio tesoro" in France 1960. In this scene from Mozart's great opera Don Giovanni, Don Ottavio has become convinced that Don Giovanni was the person who killed his fiancee's father, and swears that he will make sure Donna Anna gets her revenge on Don Giovanni. www.italianbusinessguide.com DON GIOVANNI by MOZART, 1787 Don Giovanni music by Wolfgang Amadeus Mozart and libretto of Lorenzo da Ponte and Music 1787, a delicious opera example of Bel Canto music and melodrama Don Giovanni (il dissoluto punito, ossia il Don Giovanni, literally The Rake Punished, or Don Giovanni) a great opera in two acts with music by WOLFGANG AMADEUS MOZART and with an Italian libretto by LORENZO DA PONTE. It was premiered in the Estates Theatre in Prague on OCTOBER 29, 1787. Da Ponte's libretto was billed like many of its time as dramma giocoso, a term that denotes a mixing of serious and comic action. MOZART entered the work into his catalogue as an "opera buffa". Although sometimes classified as comic, it blends comedy, melodrama and supernatural elements. The Danish philosopher Søren Kierkegaard wrote in his book Enten -- Eller (Either/Or) that Mozart's Don Giovanni is "a work without blemish, of uninterrupted perfection."The finale, in which Don Giovanni refuses to repent, has been a captivating philosophical and artistic topic for many writers including George ...

Mozart - Recitative and Aria for Soprano "O temerario arbace" in EWolfgang Amadeus Mozart (1756 - 1791) Recitative and Aria for Soprano and Orchestra "O temerario arbace" - "Per quel paterno amplesso" in Eb major, KV 79 / 73d ·Moderato Soprano: Lucia Popp Leopold Hager / Mozarteum-Orchester Salzburg Orchestation: · 2 Oboes · 2 Cornos (Eb) · 2 Bassoons · Strings Pietro Metastasio's libretti are today associated almost exclusively with Baroque and early Classical settings, but they retained some of their popularity even into the early Romantic period, with both Rossini and Bellini utilizing them. This is one of the most operatic of Bellini's songs, with more than a few devices much more frequently found in arias than in his songs.

Mozart - Aria for Soprano and Orchestra "Per pietà, bell'idol mioWolfgang Amadeus Mozart (1756 - 1791) Concert Aria for Soprano and Orchestra "Per pietà, bell'idol mio" in C major, KV 78 ·Andante con moto Soprano: Lucia Popp Leopold Hager / Mozarteum-Orchester Salzburg Orchestation: · 2 Oboes · 2 Cornos (C) · [2 Bassoons (optional)] · Strings Pietro Metastasio's libretti are today associated almost exclusively with Baroque and early Classical settings, but they retained some of their popularity even into the early Romantic period, with both Rossini and Bellini utilizing them. This is one of the most operatic of Bellini's songs, with more than a few devices much more frequently found in arias than in his songs. The piece opens with a hurried piano introduction that immediately sets a theatrical mood, with dramatic chords. The vocal melody is first taken at a quick pace and is generally simple, though it ends with a few rather theatrical reprises with dramatic changes of dynamics and tempo. The da capo repetition ends with overtly operatic touches from both voice and accompaniment, including the traditional operatic thundering flourish of an ending from the piano. ~ Anne Feeney, All Music Guide. Composed in 1766, in The Hague. Text from Metastasio "Artarerse", Act II, scene 11: Per pietà, bell'idol mio, non mi dir ch'io sono ingrato; infelice e sventurato abbastanza il Ciel mi fa. Se fedele a te son io, se mi struggo ai tuoi bei lumi, sallo amor, lo sanno i Numi il mio core, il tuo lo sa. Translation to English: For pity's sake, my ...

Mozart - Sonata for two pianos in D, KV 448 (3/3)Wolfgang Amadeus Mozart (1756-1791) Sonata for Two Pianos in D major, K. 448 (1781) 3. Allegro molto. Martha Argerich & Alexandre Rabinovitch It is written in strict sonata-allegro form, with three movements. The sonata was composed for a performance he would give with fellow pianist Josephine von Aurnhammer. Mozart composed this in the galant style, with interlocking melodies and simultaneous cadences. This is one of his only formal compositions written exclusively for two pianos. This sonata was also used in the scientific study that tested the theory of the Mozart Effect, suggesting that classical music increases brain activity more positively than other kinds of music. Molto Allegro: Molto Allegro begins with a galloping theme. The cadences used in this movement are similar to those in Mozart's Rondo alla Turca.

Mozart Requiem Mass in D Minor VI - Confutatis and LacrimosaJohn Eliot Gardiner conducts the English Baroque Soloists and the Monteverdi Choir. This performance was filmed at the Palau de la Musica Catalana, Barcelona in Dec. 1991. A Requiem Mass in the Roman Catholic tradition is a service designed to pray for the souls of the departed. The parts of the liturgy that are meant to be sung are what constitute all Requiem Mass compositions, including Mozart's. The structure is as follows: 1. Introit 2. Kyrie 3. Sequence: a. Dies irae b. Tuba mirum c. Rex tremendae d. Recordare e. Confutatis f. Lacrimosa 4. Offertory: a. Domine Jesu Christe b. Hostias 5. Sanctus 6. Benedictus 7. Agnus Dei 8. Lux Aeterna Mozart died before finishing the Requiem Mass, and his wife Constanze gave the task of finishing the work to a pupil of Mozart's named Süssmayr. From the Sanctus onward, the Requiem is the creation of Süssmayr, though he did use portions of the Introit and Kyrie for the Lux Aeterna. Despite, or maybe partially because of, the controversy surrounding this Requiem Mass, it is widely regarded as Mozart's greatest masterpiece. Latin Lyrics and English translation follow: CONFUTATIS Confutatis maledictis, When the damned are cast away Flammis acribus addictis, and consigned to the searing flames, Voca me cum benedictus. call me to be with the blessed. Oro supplex et acclinis, Bowed down in supplication I beseech Thee, Cor contritum quasi cinis: my heart as though ground to ashes: Gere curam mei finis. Help me in my final hour. LACRIMOSA ...